That notion of transcendence we invented ourselves because we felt that things would slip away from our knowledge. So transcendence is by definition what the mind can't reach, but at the same time as soon as this is said the mind defines transcendence and states, 'it is divinity' and theology takes it on itself to qualify and describe what is paradise, eternal life, hell, etc. That is our very reductive approach to the absolute. I believe that... it seems to me rather - because I don't believe in anything - there is a vast amount of things I know and a vast amount of things I don't know... it seems to me... that our mind makes desperate attempts to know, and in certain areas, it doesn't achieve that goal.

In my own area it is very simple: the truth I look for is the dramatic truth. It is about the characters I create and describe. I try to give them life first, then some truth. It is something that is acceptable, I don't have any pretension about revealing the secrets of matter or of the universe. In those areas, it may be possible to reach a small truth en passant.

French screenwriter Jean-Claude Carrière began his association with films aged 24 when he was selected by Jacques Tati to write for him. This early experience led to further contact with other film-makers, including Luis Buñuel with whom Carrière collaborated for many years. He has written screenplays for films including 'Belle de Jour', 'The Discreet Charms of the Bourgeoisie', 'Tin Drum' and 'Danton'.

Film director and documentary maker, Andrzej Wolski has made around 40 films since 1982 for French television, the BBC, TVP and other TV networks. He specializes in portraits and in historical films. Films that he has directed or written the screenplay for include Kultura, which he co-directed with Agnieszka Holland, and KOR which presents the history of the Worker’s Defence Committee as told by its members. Andrzej Wolski has received many awards for his work, including the UNESCO Grand Prix at the Festival du Film d’Art.